Alina Szapocznikow

Polish, 1926–1973

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Alina Szapocznikow

Polish, 1926–1973

359
Followers
Biography

Polish sculptor Alina Szapocznikow is best known for her resin casts of body parts, glossy objects that present lips and breasts as luxury objects. She began working during the postwar period in a classical figurative style, studying in Prague and Paris with Jean Arp and Alberto Giacometti before being recalled to Poland and eventually returning to Paris. Sometimes considered a counterpart to the essentialist, body-conscious work of Americans Lynda Benglis, Eva Hesse, and Hannah Wilke or French sculptor Louise Bourgeois, Szapocznikow explored a black humor rooted in the fragility of the body and the sexualization of certain parts, employing such loaded symbolism as presenting the female head as an ashtray. “Through casts of the body,” Szapocznikow wrote in a 1972 artist statement, “I try to fix the fleeting moments of life, its paradoxes and absurdity.”

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Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
Centre Pompidou, and 2 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 3 more
Institution
Collected by a major institution
Tate, and 1 more
Publication
Reviewed by a major art publication
Artforum, and 4 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 2 more
Biography

Polish sculptor Alina Szapocznikow is best known for her resin casts of body parts, glossy objects that present lips and breasts as luxury objects. She began working during the postwar period in a classical figurative style, studying in Prague and Paris with Jean Arp and Alberto Giacometti before being recalled to Poland and eventually returning to Paris. Sometimes considered a counterpart to the essentialist, body-conscious work of Americans Lynda Benglis, Eva Hesse, and Hannah Wilke or French sculptor Louise Bourgeois, Szapocznikow explored a black humor rooted in the fragility of the body and the sexualization of certain parts, employing such loaded symbolism as presenting the female head as an ashtray. “Through casts of the body,” Szapocznikow wrote in a 1972 artist statement, “I try to fix the fleeting moments of life, its paradoxes and absurdity.”

Career Highlights
Learn more about artist insights.
Blue chip status
Blue chip representation
Represented by internationally reputable galleries.
User
Solo show at a major institution
Centre Pompidou, and 2 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 3 more
Institution
Collected by a major institution
Tate, and 1 more
Publication
Reviewed by a major art publication
Artforum, and 4 more
Fair
Included in a major biennial
Venice Biennale National Pavilion, and 2 more
Articles Featuring Alina Szapocznikow
7 Must-See Shows in New York Right Now
Nov 15th, 2019
7 Must-See Shows in New York Right Now
Why Alina Szapocznikow Turned Women’s Bodies into Household Objects
Dec 4th, 2017
Why Alina Szapocznikow Turned Women’s Bodies into Household Objects
How the Women of Surrealism Went from Muses to Masters
Jul 4th, 2017
How the Women of Surrealism Went from Muses to Masters
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